Hurvin Anderson, Michael Armitage, Alberta Whittle and other artists from the African diaspora consider how identity and collective history impact individuals’ relationships with the environment.
A post-apocalyptic landscape or an abandoned toolshed? This compact exhibition, by ceramics sculptor Gillian Lowndes, inspires the mind to wander.
This show looks at how Sargent styled his sitters, insisting they wore certain garments or rearranging them, using fashion as a tool to reveal their personalities.
A career-spanning exhibition of drawings and watercolours shows the elusive modernist at his most direct.
The Royal Academy, founded at the height of the British empire, brings together more than 100 historical and contemporary works – from JMW Turner to Yinka Shonibare – in an attempt to redress its colonialist past.
As poetic as it is urgent, Barbara Kruger’s text-based work packs a weighty punch. Her methods of direct address implicate the viewer, leaving no space for complacency.
The pair met as students at Cambridge and remained friends until Moon’s death at the age of 39. This vibrant and colourful exhibition makes clear the influence they had on one another’s work.
A flurry of museum and gallery exhibitions flags a surge of interest in Korean art. The most compelling is the Hammer Museum’s Only the Young.
Through paintings, works on paper and projections, this exhibition traces the evolution of AARON, the earliest artificial intelligence (AI) program for creating art, conceived by the pioneering British painter Harold Cohen.
The artist talks about using sand and sugar to make historic and contemporary connections between Mauritius and the Isle of Wight and between colonial power, indentured labour, leisure and childhood.
Spanning seven decades of the artist’s groundbreaking work, from the 1950s to now, some done with John Lennon, the takeaway message is the hope that perhaps world peace really is possible.
Robinson, whose exhibition Dream-Bridge-Omniglyph is now at the London Mithraeum, considers his reimagining of arcane lost worlds, Jungian dream theory and the potential curse incited by layers of ancient mythologies being incorporated into a contemporary temple of finance.
Small carved figures, knotted fringes and historic hats represent Pieski’s Sámi heritage as do her luminous painted landscapes and they work powerfully in her show at Tate St Ives to highlight systemic injustices to land and people.
In this joyous and eccentric show, Hoyland’s jaunty ceramic sculptures are shown alongside equally playful sculptures from contemporary artists including Hew Locke and Phyllida Barlow.
The 50 artists in this formidable show have all used textiles to tell powerful stories of resistance to social, political and ecological ills.
Davis talks about his art and how he started out in the 1960s, his friendship with Judy Chicago, playing chess with David Hockney and having a Scotch with Clement Greenberg.
Spanning master plans and covert models, these two exhibitions conjure up a point in the early 1930s when flows of international modernism infiltrated the British academic and political establishment.
Repeatedly drawing the same sitters from among his circle of close friends, Auerbach conveys his subjects with truth, tenderness and empathy, getting to the very heart of them.
After years of resistance, Poncelet has facilitated a full retrospective of 50 years of her work. Her inventiveness, material eclecticism and chromatic intelligence make her very much an artist for these times.
The Hayward Gallery’s spring exhibition is an effervescent playground of kinetically inclined sculpture that captures the drifting, mushrooming and vibrating movements of the natural world.
This show celebrating the centenary of the local artist who became internationally famous includes more than 60 works from his long career, along with a recreation of his studio.
This major new show pays homage to Kngwarray, an Indigenous Australian who, though she only began painting in her later years, produced a prodigious amount of work and became internationally acclaimed.
A suffragette’s medal, a 16th-century dildo and a hatpin are just some of the fascinating items that Annabelle Hirsch uses to take us on a spin through female history.